イニシエイション || Initiation


Vocals: Meramipop (めらみぽっぷ)
Lyrics: RD-Sounds
Arranged by: RD-Sounds
Album: Hifuusai Original Soundtrack (秘封祭 オリジナル・サウンド・トラック) 【Official Site】
Circle: Diao ye zong (凋叶棕)
Published by: Shimensoka (四面楚歌)
Event: C91
Original Theme: Girls’ Sealing Club [少女秘封倶楽部]

Requested by: Rin


This track is part of the soundtrack of a doujin game released during C90. The official site pulls no punches – written at the very top is ‘Merry bad end,’ which is the title of a special book accompanying a special edition of the game released at C91 with the OST.

I’m still not entirely sure what to make of the lyrics. To begin with, I thought that the track was about Sumireko, pulling some timey wimey shenanigans to prevent the continuation of the Sealing Club in Renko and Merry’s era. But, with the ‘Merry bad end’ message in mind, I think it might actually be about Merry dealing with/eradicating multiple different personalities in her mind. Please let me know if you’ve read the associated novel, or have any theories of your own, because I’d like to get closer to finding out the true meaning of this track…!

It also seems like this track is linked to the other Diao ye zong vocal track, Celebration. I’d like to have a look through that, too…

_ _ _ _ _ _ _ _ _ _

I felt countless gazes upon my back
Filled with malice
As if saying “why me?”

If you want to curse someone, then please curse me
But even if you do, I won’t stop.

I won’t look away, I won’t forget
Because they, too, are me.
Still, I search. I search for a future absent of that way of life.

I crush them
Suffocate them
All so they’ll never be born again.

I gather my strength and take another step.

I crush them underfoot
Eradicate their wishes
All so they’ll never be able to dream again.

I place my feet upon the ground. (1)
Firmly, firmly! Firmly! I stamp my foot down. And afterwards…

…I want to see you.

I mark out the final blank space
That must be filled.
It’s the same shape as you.

And if, say, there’s nothing after this
Even if I pursue the worst possibility…

I will not look away, I will not run away
Because that, too, is me.
Still, I will take that way of life to heart and walk onwards.

I’ll trample them underfoot
Exterminate them
So they can never again come to life.

I am here. There’s only one me.

I’ll trample them to death
Exterminate their hopes
So they won’t start moving again.

I stretch a hand to the sky. (2)
Higher, higher! Higher! I hold it out. And afterwards…

…I want to see you.

Yes, until I meet you
At the end of this ‘road’…

Yes, until you and I
Begin walking toward the future…

Yes, until you and I
Decide what shape tomorrow will take…

Yes, until you and I
Can turn our dreams into reality…

I’m fine with you.
I’m fine with you.
I want to be with you – that’s all I want.

This story hasn’t even started yet. (3)

I keep moving
I leave everything behind
And I simply continue to walk upon this road.

I place my feet upon the ground (a corpse).
Firmly, firmly! Firmly! I stamp my foot down. And afterwards…

Strongly, strongly! Strongly! I let loose those words.

…I want to see you.

_ _ _ _ _

(1) A corpse (死体) is written instead of ‘ground.’
(2) Blue sky (青空) is written instead of ‘sky.’
(3) Secret Sealing Club (秘封俱楽部) is written instead of ‘story.’

龍人秘抄 || Secret Notes of Humans and Dragons

hatsubanme-mono “ryuujin hishou”
The First Play: Secret Notes of Humans and Dragons

Vocals: nayuta
Lyrics: RD-Sounds
Arranged by: RD-Sounds
Album: Tsutae (伝) 【Official Site】
Circle: Diao ye zong (凋叶棕)
Event: C91
Original Theme: Love-Colored Master Spark [恋色マスタースパーク]

Requested by: Kaori Hanayama


The first play in a typical Noh performance is the kami mono (神物) or waki noh (脇能). In it, a deity takes on human form in the first half, before revealing their true nature in the second. This song is about a dragon, but it’s easy to draw parallels between the two after reading through the lyrics. See if you can pinpoint the point where the dragon’s true nature is revealed.

The original text is quite archaic, so my translation ended up being quite liberal. Still, I’m quite sure that I conveyed the main message of the song, though it’s open to interpretation.

The title is curious. It follows a similar pattern to old-fashioned literary works such as 連理秘抄 (A Secret Treatise of Renga Principles), 隣忠秘抄 (Secret Notes of Chikatada), and 梁塵秘抄 (Songs to Make the Dust Dance on the Beams). I decided to follow the style of the first two.

_ _ _ _ _ _ _ _ _ _

O, freshly-woken dragonchild!
Your appearance is yet unseemly.
Without wings,
You crawl upon the ground and suffer.

Though the small dragonchild
Wept and wept,
Nobody listened to their cries.
Now, who will reach out to them?

O, wise human child!
By nature, you invite trouble.
Chased from your dwelling,
You live a solitary life and suffer.

Because the human child’s voice
Was so faint,
Nobody lent them an ear.
Now, who will reach out to them?

Living in such a sad world,
Both endured hardships.
Thus, the human and the dragon met…

The earthbound dragonchild
And the human child, unable to even walk on the ground,
Were subjected to slander
By all, with dreadful voices.

But they looked up at the heavens,
But they glared up at the heavens.
They left their lives on the scales, which became a curse…

O, wise human child!
You are still utterly ignorant.
In your hands,
You grasp something small and weak, which crawls along the ground.

In the deepest darkness,
They lurk within your hands.
They gaze into the darkness
And secretly smile…

O, freshly-woken dragonchild!
Thus, you deceive the humans.
You listen to their voices
And pursue the source of their power.

Such a wicked thing.
They once sealed you away
For your countless deeds…
Do they all know why you did what you did?

While living in this sad world,
While facing any sort of misfortune,
The dragon and human met and parted…

The freshly-woken dragonchild
Raced toward the heavens.
Though this world is so sad,
There are still voices noting how wonderful it is.

But they swam through the heavens,
But they hollowed out the earth,
Both swearing that they would meet again.

O, child left on the earth!
When you reach your dying hour,
They will surely fall from the heavens and come to you.
That is your unmistakable vow.

And so, the dawn came
When the grown dragonchild returned.
Repaying their countless debts,
They took the human’s body upon their back.

Now, they aim for the edge of the heavens,
Parting from this sad world.
The human rode upon the dragon,
Their figures visible in the sky.

Rise to the heavens! Climb, ascend, without end!
All who saw the pair wrote this, the secret notes of humans and dragons.

鬼顧 || The Oni’s Reflection

The Fifth Play: The Oni’s Reflection

Vocals: Meramipop (めらみぽっぷ)
Lyrics: RD-Sounds
Arranged by: RD-Sounds
Album: Tsutae (伝) 【Official Site】
Circle: Diao ye zong (凋叶棕)
Event: C91
Original Theme: Battlefield of the Flower Threshold [華狭間のバトルフィールド]

Requested by: Vaati


The fifth play in a traditional Noh performance is known as the Kiri Noh (切り能) or the Oni Mono (鬼物), and it features the performer assuming the role of demons or monsters. They are apparently fast-paced, and make use of bright colours. Even from that brief description, it’s clear that an arrangement of Kasen’s theme is the perfect fit.

I decided to translate the title as “The Oni’s Reflection.” Oni (鬼) literally means ‘demon,’ but Oni are an established species in the Touhou universe, which is why I went with that. 顧 means something like ‘nostalgia.’ ‘Reflection’ isn’t quite an equivalent term, but I went with it because I think it relates to the underlying theme of the song. It seems like it involves Kasen becoming(?) an Oni, but using her arm as a symbol of her humanity. Therefore ‘reflection’ refers to Kasen looking back and remembering her past, but it also has a more literal meaning: Kasen looks at her reflection, and tries to come to terms with what she sees.

In other words, it seems like Kasen has both a human and Oni nature. Her Oni nature (demonstrated in the song through the phrase ‘when the Oni are here’) compels her to hunt and eat humans, whereas her humanity (represented by her arm) compels her to hold back and feel remorse.

Like the other tracks in this album, there are lots of archaic expressions and historical allusions. As always, I’d love to hear other interpretations, or even corrections in areas where I’ve misinterpreted the grammar, etc.

_ _ _ _ _ _ _ _ _ _

“The clothes that she wore
Were unlike those of any human.
Even so, her hair was brightly coloured—
The same colour as human flesh.”

When was I born?
And when did I leave my human body behind?
Both answers came from within.
I remember the taste of blood.

Mount Ooe,
Deep in the mountains,
Became my dwelling.

There is no way of life left,
But my body must still persist
No matter what I become.

No matter what kind of soldiers they may be,
All humans are the same.
While the Oni are away, their hearts (1)
Where have they been invited to?
Will they never return to this transient world?

Be silent!
Hold your tongue!
Because of that arm of mine,
I will not lose my humanity.

“Adopting such a lifestyle
Was certainly her attempt to mimic humans.
Thus, the verdure illuminating her deeds
Surely resembled even the colour of human souls.”

In the past,
I was feared by humans.
However, before I knew it, I had placed myself in their power.
Listen to those metallic sounds…

Before the distant gates,
The foolish ones gather tonight…

Though I am able make a living,
I must live inside that body.
No matter what I become.

No matter what kind of principle it may be,
It applies equally to all humans.
While the Oni are here, this heart of mine
Begins to move.
O, those who are led away!
Eating humans is the law of things.

Be silent!
Hold your tongue!
I feel pain in my arm
And I do not lose my humanity.

All humans gaze upon the Oni resting within them
And tremble in fear.

All Oni gaze upon the human resting within them
Though they cannot regain human form.

All Oni are the same,
No matter what legends one considers.
When the humans were there, they would have been defeated.
No matter where it may be,
The path I am on is the heavenly path.

Be silent!
Hold your tongue!
I pray that, even if I restore my arm,
I will not lose my humanity.

The voices of Oni resound.
Their extermination yet continues…
I pray so I will not lose my humanity.

_ _ _ _ _

(1) This line refers to the proverb 鬼の居ぬ間に洗濯, which is equivalent to the English phrase “when the cat’s away, the mice will play.”

パラノイドガール || Paranoid Girl

paranoid gaaru
Paranoid Girl

Vocals: Meramipop (めらみぽっぷ)
Lyrics: RD-Sounds
Arranged by: RD-Sounds
Album: Utsuro (虚)
Circle: Diao ye zong (凋叶棕)
Event: C91
Original Theme: Last Remote [ラストリモート]

Requested by: Trong Nguyen Duc


A song about Koishi, before she closed her third eye.

In speaking so much about ‘you,’ it’s almost as if Koishi is blaming us, the listeners, for what happened to her. We did this to her.

As a side note, if I had to give this album an English title… I’d probably go with ‘hollow.’ That’s how I translated the Kanji whenever it appeared in the song. I’ll see if I think any differently after I get to the other vocal track.

_ _ _ _ _ _ _ _ _ _

You’re all hiding things from me
All the time,
Keeping guilty words hidden in your hearts.

No matter what you may be feeling,
You just stick the same old smiles
To your faces.

Why do you tell such lies?
Is everyone playing games with me
While knowing who I really am?!

I can’t put up with those false voices!
Only their irresponsible words echo about.
I suppose you all seek to cover them up…
But I know… I’m aware of all those voices! All of them!

…You know, I can hear them.
Though those voices were hollow at first,
They gradually grew stronger
And now they are infinite, and they scorn me.
I just can’t stop them!

It’s like they’re sending
A pebble at the side of the road flying (1)
Without even sensing how it feels.

Heaping such slander on me,
Hurling such vilification at me…
How can you be so remorseless?

Are you laughing at me?
Do you sneer at me inside your heart
Without even knowing how much you wound me?!

Why am I the only one treated like this?
Why am I being exposed to this immeasurable malice?
You all keep quiet,
But all your voices… there’s no way they’re just in my head!

They creak and groan,
Mix and churn,
And clamour and rustle
In my head…

Please don’t fear me!
Please don’t hate me!
Please don’t tear away at me!
Just leave me alone…!

I don’t want to listen,
But when I want to smile, I can hear those voices
And I can’t smile.

I bet just the thought of me
Is enough to make you scared, too.
I can’t put up with this anymore. I’m a failure!
Yes… born with such a ‘gift,’ I can never be like you!

Even blind smiles are now distant.
She made her hollow eyes prowl along the hollow sky.
The paranoid girl killed her heart,
But even now, as long as she can hear those voices—those delusions—
She will never smile.

_ _ _ _ _

(1) Koishi’s name is pronounced the same as the word for pebble (小石 – ‘koishi’), which means that this section can also be read as: “It’s like they’re sending / Koishi, at the side of the road, flying / Without even sensing how she feels.”

花ノ天使 || The Angel of Flowers

sanbanme-mono “hana no tenshi”
The Third Play: The Angel of Flowers

Vocals: Meramipop (めらみぽっぷ)
Lyrics: RD-Sounds
Arranged by: RD-Sounds
Album: Tsutae (伝) 【Official Site】
Circle: Diao ye zong (凋叶棕)
Event: C91
Original Theme: Catastrophe in Bhava-agra ~ Wonderful Heaven [有頂天変 ~ Wonderful Heaven]


The third play in a traditional Noh performance focuses on refined music, flowing movements, and femininity. This track fits into that mold quite well – the speaker recounts a past experience, in which they encountered Tenshi, an angel. The way in which they refer to the angel is not consistent. Sometimes they refer to them as ‘you,’ conveying a sense of intimacy, whereas they also speak from a position of distance at other points.

Interestingly, Tenshi’s name (天子), is pronounced the same as the word for Angel (天使 – ‘tenshi’). So, anytime you see the word ‘angel,’ you can imagine that the speaker is also saying Tenshi’s name.

_ _ _ _ _ _ _ _ _ _

She makes the scent of flowers waft through the air
Faintly, from somewhere.

A figure peers up at the sky—
It is you, known as an angel.

She raises her hands to the sky, with the trees at her back,
As if seeking to make the cherry blossoms bloom.

She is stubborn, selfish…
She is quite tomboyish for an angel.

We simply cannot dance together. The angel just smiles.

—A heavenly breeze.

It was like an illusion.
The flowers quietly bloomed somewhere in the sky.

—At the edge of the clouds.

Did the angel arrive
Together with the flowers
From somewhere far away?

She sings an unfamiliar melody,
Though it is hard to tell where it is coming from.

A figure gazes up at the sky—
It is you, who I referred to as an angel.

Though I knew everything,
All of it was in vain.

She is stubborn, selfish…
She is quite careless for an angel.

We simply cannot sing together, though I would be satisfied if the angel just smiled.
“How boring. I prefer useful things over flowers.” Her eyes are singing.

—A heavenly breeze.

Is this an illusion?
I saw that figure, yet I question my eyes.

—At the edge of the clouds.

The angel arrived
Together with the flowers
From somewhere far away.

But someday, the angel
Will fly back up into the sky.
And then…
Perhaps she will bloom once more beneath a sky unknown to her.
A sky unknown to all.

—A heavenly breeze.

If this is truly an illusion,
Then it seems I will be unable to bid farewell to the angel as she flies away.

—At the edge of the clouds.

I want to hold that figure,
Seen in a distant sky,
Inside my heart

For just a little longer…

心綺楼 || Shinkirou


Vocals: Meramipop (めらみぽっぷ)
Lyrics: RD-Sounds
Arranged by: RD-Sounds
Album: Tsutae (伝) 【Official Site】
Circle: Diao ye zong (凋叶棕)
Event: C91
Original Theme: The Lost Emotion [亡失のエモーション]

Requested by: Rachelle Lee


This song is ‘Shinkirou,’ the play Kokoro wrote in collaboration with Mamizou in Forbidden Scrollery [Also Hopeless Masquerade’s Japanese title]. It is a comedic retelling of the events of the religious war, featuring exaggerated portrayals of each of the combatants…

Except Koishi.

I think Kokoro is the one performing this whole play, but since she takes on the personas of other characters, I tried to copy their speech patterns as best as I could, and I gave them a distinctive colour. Another thing about this song that’s quite neat is the little hints of each character’s theme you hear during their respective sections. Of course, you probably won’t notice it the first time you listen until it reaches Nitori’s section. Then you’ll want to listen to the song again to see where the others are…

And then you’ll realise once more that Koishi is missing. Well, at least she got her own album this time…

Though I haven’t listed all of the Diao ye zong-isms here, I tried to account for them in my translation. Some are quite standard, such as substituting 感情 (‘kanjou’) with 想い (‘omoi’).

_ _ _ _ _ _ _ _ _ _

All creatures, great and small!
How do you live those long lives of yours?
You live without getting answers, though you worry and worry.
If so, then make your lives bloom like flowers, adorning this moment!

O, infinite emotions! Become flowers!

You! Youkai over there!
You are before the Hakurei shrine maiden,
So give me your popularity!
While you’re at it, give me monetary offerings, too.

The firepower I set off
Is the result of diligent, daily work,
So it will surpass mysteries
And become hope!

According to the old man,
Our conflict is just.
Scum like you
Have already lost in terms of sheer scale!

I shall save the world.
I swear it upon my title as the strongest monk.
Displaying my power
Is like presenting the Three Buddhist Treasures in physical form.

Whilst faith continued to be disturbed…
Before that shadow secretly stretched out their hands…
I will rely on my heart and tell my tale!

Those infinite layers of emotion
Began to change, this instant.

If they are not peaceful…
Then I shall bewitch them! We shall fight!

Now, popularity explosion!
It’s a clash of great moves!

O, cries of joy! Become flowers upon this stage!

I am but a pawn.
‘Tis nary a cloud in mine heart.
You, over there –
Art thou a foe?! Then I shall set fire to thee.

Leave me!
Places full of hope can be found far and wide.
A new mask
Will become a new shape for your hope.

If a festival’s going on,
Then I’ll aim for loose purse strings!
This isn’t a game!
Even trials in hell run on something or another… (1)

The moon’s out –
It’s high time Futatsuiwa from Sado passed on by. (2)
Though I walk right through the Human Village,
They ain’t got no idea who I really am…

A time before hearts were disturbed and stolen away
By faith, which shifts from one thing to the next…
I will tell that tale to my heart’s content!

If a hopeless life awaits
Inside the darkness…

Just look upon it and smile!
As long as you’re alive, isn’t that great?

Now, popularity explosion!
Danmaku burst forth!

O, cries of wrath! Become flowers upon this stage!

One’s heart can be found in life—
It’s tale of numerous deeds
Done from person to person
Or thing to thing.

I don’t know how tomorrow will turn out
In this mirage.
Still, I’m going to follow my heart
And pass this legend on to tomorrow!

Though I gaze upon all the emotions I felt
From the beginning of this tale to its end,
My worries overwhelm me, and I feel empty…
I’m still not satisfied
So I will seek hope using these hands of mine!

The feast is in full swing
So I shall give them one last look at my wicked Noh!
I shall cover up the mood of the Holy Trinity! (3)
Do not bear a grudge, Menreiki!

And now I, too, cannot lose
For the sake of all hope.
I’ll dance once more for you!
Now, while I command this name – and my heart!

Popularity explosion!
Spells fly wildly about.

O, desire for hope! Become a flower upon this stage!

…Become flowers!

_ _ _ _ _

(1) This line is a corrupted version of the proverb 地獄の沙汰も金次第, which means something like “even trials in hell can be won with enough money.”
(2) These two lines are also used in the beginning of <正調>佐渡の二ッ岩, a track from Itazura [徒]. In that song, they are used in reference to the tanuki Danzaburou-danuki (団三郎).
(3) This refers to the three religious sects at war in Hopeless Masquerade: Shintoism, Taoism, and Buddhism.

祟神 || The Curse God

tsutae二番目物 「祟神」
nibanme-mono “tatari-gami”
The Second Play: The Curse God

Vocals: Meramipop (めらみぽっぷ)
Lyrics: RD-Sounds
Arranged by: RD-Sounds
Album: Tsutae (伝) 【Official Site】
Circle: Diao ye zong (凋叶棕)
Event: C91
Original Theme: Tomorrow Will Be Special; Yesterday Was Not [明日ハレの日、ケの昨日]


I’ve been waiting for this arrangement my whole life and I didn’t even realise it.

Well, that’s a bit of an exaggeration, but still – this is definitely my favourite arrangement of this particular theme. It’s so lively, and Merami does some great ‘character’ singing.

I feel like this song is about Suwako, who gradually gets more and more jaded after being beaten by Kanako. Even the humans who give her faith say one name while also saying another. They betray her, commit acts of violence against her, and are generally ungrateful of what she does for them. In the end, she just gives up and curses everything. That’s a bit of a shallow reading, but there’s a lot to get out of this song. Some very evocative phrases, too, so I hope you enjoy it!

A side note: according to good old Wikipedia, the second play in a traditional Noh performance involves a famous samurai pleading for salvation, culminating with a re-enactment of their death. I feel like the other plays in this album fit the original format a bit better, but it’s also possible to fit this track in as well.

_ _ _ _ _ _ _ _ _ _

Everywhere in the heavens, (1)
Rouge-coloured rain falls.

And across all the land,
I step upon rust-coloured soil.

If losing and winning is the way of the world,
Then there’s no option but to obey.

But with this infinite malice…
Will things be allowed to end like this?

The sky glows a brilliant red,
And the ears of rice lower their heads heavily.
But there is no trace of a saviour
At the edge of the lordless land.

I walk upon the loser’s path!

To those who walk upon the mountain of corpses,
One or two steps alone is not enough.
Without being allowed to go forwards or backwards,
They walk the road of carnage, never to return.

Walk upon the victor’s path!
…It’s endless. How long does it last?

I govern the best patch of land. Like that, take everything and go!

The world is ever-changing.
You are abandoned by the gods, and you are saved by them. (2)

I pray that my people will survive using the outsiders’ hands.

Even so, are you aware
Of whom your violence is aimed towards?

I will never forget it.

The name of that god – that usurper –
I’ll resent it for ever and ever and ever!

The same mouth calls out different names.
Felicitous bonds are empty.
No matter how sunny yesterday was,
They are ignorant of how tomorrow will turn out.

This is the loser’s road!

Because those who are protected are weak,
Always live in the shadow of someone stronger!
Whose sake are these prayers for?
How absurd. Nobody knows.

Will they reach the victors?
…How long will it take? How long?

All the faith I had bundled together… I threw it all away, just like that.

The world is ever-changing.
You are abandoned by the people, and you are saved by them. (3)

I pray that my people will survive in the outsiders’ arms.

Even so, are you aware
Of whom your ingratitude is aimed towards?

I will never forget it.

I will curse that traitor’s name
For ever and ever and ever!

They sicken others and populate to a calamitous extent
Without growing even a blade of grass.
What sort of resolve does it take
To appease the impurity I gathered up?

The world is ever-changing.
There is no world to abandon you, no heaven to save you.

I pray for the lives of the outsiders.

Live and repent
So destruction will never come to pass.

So you won’t forget it, and so you won’t forget my name,

I’ll curse the heavens and the earth
For ever and ever and ever and ever and ever and ever and ever and ever and ever!

_ _ _ _ _

(1) The characters representing ‘heavens’ and ‘earth’ in these two stanzas (乾 and 坤) come together to make the word 乾坤 (‘kenkon’ – heaven and earth / universe).
(2) This is an old proverb that, in general, means ‘when one door shuts, another door opens.’ It reappears in increasingly corrupted forms thoughout the song.
(3) 神 (‘kami’ – god) is replaced with 民 (‘tami’ – nation/people) here, but ‘kami’ is still sung.

幻想萬歳楽 || Illusory Manzairaku

gensou manzairaku
Illusory Manzairaku

Vocals: Meramipop (めらみぽっぷ)
Lyrics: RD-Sounds
Arranged by: RD-Sounds
Album: Tsutae (伝) 【Official Site】
Circle: Diao ye zong (凋叶棕)
Event: C91
Original Theme: The Lost Emotion [亡失のエモーション]

Requested by: Petalite Yuu


This track heavily borrows from ‘Okina’ [翁], a traditional work of Noh theatre. The main mask involved is the titular ‘old man’ mask, which Kokoro appears to be wearing on the album’s front cover.

Because it’s based on a Noh play, the language used is more traditional, which made it a challenge to translate. Overall, though, it deals with life. The speaker wishes good health and a long life for all.

Also, I’ve… actually brought some resources along this time! The first resource is Frank Alanson Lombard‘s An Outline History of Japanese Drama, published in 1928. It’s available to read for free (?) on Google Books. Though the book is almost 90 years old, it contains a translation of ‘Okina,’ from page 92, which informed my own translation of this track. This is another English-language resource talking about the details of the play, though it does not offer a translation. Finally, this Japanese site also discusses the play.

_ _ _ _ _ _ _ _ _ _

To to tarata tararira
Tarari agari rararido
Chiriya tarari tararira
Tarari agari rarararido (1)

Together with the endless lives of the tortoise and the crane,
We rejoice, with hearts overflowing happily.

May life be granted, even for a thousand years.
May everyone’s lives continue for a thousand autumns!

Bloom for a thousand years
And last forever!
I shall dance, celebrating the joy
Of a thousand, ten thousand years!
Though people sit close by,
This dance
Is our prayer today.


May life be granted forever.

As said above,
This is how things are.
And thus…

I pass it down, together with
This Manzairaku.

Be born, and live
As the peaceful, tranquil ‘old man.’ (2)

Even in the place I dwell in,
Auspicious things are present. May they continue!

I feel fear
Once more,
And thus, I cast away
The life dwelling in my body.

Happiness is,
As said above,
A single dance.
It is the art of those with life in their bodies.


This peace is yet unending…

As said above,
This is how things are.
And thus…

I sing about it, together with
This Manzairaku.

Because I have not yet arrived at my destination,
I waver to and fro, and live.

Bearing emotions that I still do not comprehend,
I look upon this body of mine favourably.


May life be granted forever.

As said above,
This is how things are.
And thus…

I pass it down, together with
This Manzairaku.

_ _ _ _ _

(1) These sections refer to either the sound of flowing water or an ancient liturgy (Lombard 1928, 92).
(2) The ‘old man’ refers to the mask used in this play: ‘Okina’ [翁]

かぜなきし || The Wind Cries

kaze nakishi
The Wind Cries

Vocals: Meramipop (めらみぽっぷ)
Lyrics: RD-Sounds
Arranged by: RD-Sounds
Album: Susume (薦) 【Official Site】
Circle: Diao ye zong (凋叶棕)
Event: C85
Original Themes: –Native Faith [ネイティブフェイス]
Faith is for the Transient People [信仰は儚き人間の為に]

Requested by: Petalite Yuu


This track is based on the comic of the same name by Iyokan. Unfortunately, I haven’t read it, so please let me know if there are sections that don’t match up with what happens in it.

I get the impression that this song is mostly told from Suwako’s point of view, though there are some small sections where Sanae/her ancestor takes over. In the world of this song, it seems like Sanae’s ancestor was born as a result of forbidden (non-consensual) contact between Suwako and a human. Though Suwako loves Sanae’s ancestor deeply, she is forced to move her to the human world.

_ _ _ _ _ _ _ _ _ _

…I pray that the children of humans will be loved by humans.

…I pray that the children of gods will be loved by the gods.

And if one exists who is both a human and a god, I pray that they will be loved by both.
The wind carries a distant memory.

I stand in a rice paddy. Gold hovers over this sea.
Iron, brought forth by man, becomes our bond.

Gods and humans support each other and make use of each other.
But, ah… they must never come together.

I receive the unstable, fickle prayers of humans.
Though sometimes, I even feel love for them.

…Even so, gods are solitary beings.

My dear child, my sinless child,
Though I celebrate your birth,

I am not permitted to hold you in my arms.
Gods must maintain their position.

I am unable to hold my child and weep.

Still, I wanted you to be loved. Where do my thoughts, carried by the wind, go?

You are hidden in a sea of iron, over which dark grey shapes rise,
In which the beliefs that humans clung to gradually vanish…

My path lies in religion.
I do not doubt it, even for a moment.

I receive the resolute prayers offered up to me,
Though I occasionally long to look back.

…But humans are solitary beings.

My beloved humans, my beloved mother.
Even if our blood did not separate us…

If I was loved by you when I was born,
Then I must stand tall, while feeling your love.

I cannot kneel and cry.

I sent thoughts away on the wind, just so she could live. Where did they go?

…I hear a voice calling, “stand up!” With my own hands,
I will discover my own way of life.

I pray, hoping that the wind will blow so they will reach their destination.

My dear child, my distant child!
Once humans have broken their bonds…

Now is the time for me to hug you, stronger than anyone else.
You are worthy of being a living god.

I cast you away, and I am allowed to weep.

Still, I love you. My feelings, carried along by the wind, are right here.

And in the distance, the wind cries.

空に近い場所 || Somewhere Near the Sky

sora ni chikai basho
Somewhere Near the Sky

Vocals: Meramipop (めらみぽっぷ)
Lyrics: RD-Sounds
Arranged by: RD-Sounds
Album: Utsutsu (夢) 【Official Site】
Circle: Diao ye zong (凋叶棕)
Event: C90
Original Theme: Japanese Saga [ジャパニーズサーガ]

Requested by: Petalite Yuu


The bit at the start sounds like one of those heart rate monitors they use at hospitals. Make of that what you will…

I know this song is technically about Akyuu (or another random person, depending on how you interpret it), but putting that aside, I think RD will have a field day once Kosuzu gets her own theme. I’m calling it right now – a future Diao ye zong album will be called 鈴

_ _ _ _ _ _ _ _ _ _

“I’m… I’m sorry things turned out this way.”
Your eyes were choked with tears
And I could tell you were trembling from your hands.

Our hands touched, and something passed between us.
I thrust everything upon you,
But still, there are some things I can’t tell you…

That’s enough—
I keep quiet, without saying whether it’s good or bad,
And I feel only your warmth.
Let’s go higher, higher, higher, higher…

We, who cannot fly,
Have no means of understanding the sky.

Even so,
You continue to want me, just like that.

If we stay like this,
Then you could say we can fly…

Which parts of ourselves are we grinding together?
The small bubbles falling from your mouth
Are the spray of your consciousness.

How can I make you return my gaze?
Though I know everything is worthless,
I hope to at least pierce you a little with my sweet thorns…

In the end,
It’s meaningless. It won’t last forever.
It’s just an illusion inside us.
We head deeper, deeper, deeper, deeper…

I can’t fly.
Alone, I wander about somewhere in the night.

Even so,
Why do I hug this body of mine so?

I am at a loss
Whilst in the boundary between dreams and reality.

My inner desires.
I don’t know what I really want.
But if I can hope… then I hope that we can meet again like always next time.

I can’t fly.
But if I’m with you, there’s nowhere we can’t reach!

I seek to refuse you with just a glance.

Even so,
Somewhere deep in my heart, I want to accept you

Because I want to fly.
Perhaps having such thoughts is what makes us similar.

If we stay as we are now,
Then we’ll surely be able to draw a bit closer to the sky…